Measures

=Measure Master= Derek Suzuki, Brian Campbell, Shawn Albert Shepard
 * [|Listening Examples]
 * [|Rules Sheet]

Boards

 * [|Game Board]
 * [|Measure Board]

Cards

 * [|Read and Notate]
 * [|Improvisation]
 * [|Name the Interval]
 * [|Name the Chord]
 * [|Listening]

Markers

 * [|Notes and Game Pieces]

Game Board Sketch


=Instructional Objective= //What will the learners learn from this game (or more likely, what learning objectives are being reinforced by this game)? If it's for school use, where does it fit into the curriculum? (You can find links to curricular frameworks [|here] ).//

The game is designed to test, practice and reinforce musical concepts, including Music theory (notation, chords, rules, symbol identification, rhythms) and general knowledge of musical instruments.

These concepts are a part of the California State Board of Education [CSBE] Music Education Standards. Standard 1.0 (below) is the overarching objective, with several sub-headings for each aspect of this standard. These subheadings are broken down by grade level, as shown below)

California State Board of Education (CSBE) Music Education Standard 1.0 -- Artistic Perception

 * Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Music
 * Students read, notate, listen to, analyze, and describe music and other aural information, using the terminology of music.
 * Read and Notate Music
 * Listen to, Analyze, and Describe Music

Read and Notate Music

 * 1.1 Read, write, and perform intervals and triads.
 * 1.2 Read, write, and perform rhythmic and melodic notation, using standard symbols for pitch, meter, rhythm, dynamics, and tempo in duple and triple meters.
 * 1.3 Transcribe simple aural examples into rhythmic notation.
 * 1.4 Sight-read simple melodies in the treble clef or bass clef.

**Listen to, Analyze, and Describe Music**

 * 1.5 Analyze and compare the use of musical elements representing various genres and cultures, emphasizing meter and rhythm.
 * 1.6 Describe larger music forms (sonata-allegro form, concerto, theme and variations).

**Read and Notate Music**

 * 1.1 Read, write, and perform intervals, chordal patterns, and harmonic progressions.
 * 1.2 Read, write, and perform rhythmic and melodic notation in duple, triple, and mixed meters.
 * 1.3 Transcribe simple aural examples into melodic notation.
 * 1.4 Sight-read melodies in the treble or bass clef (level of difficulty: 1 on a scale of 1-6).

**Listen to, Analyze, and Describe Music**

 * 1.5 Analyze and compare the use of musical elements representing various genres, styles, and cultures, emphasizing tonality and intervals.
 * 1.6 Describe larger musical forms (e.g. canon, fugue, suite, ballet, opera, oratorio).

**Read and Notate Music**

 * 1.1 Read, write, and perform augmented and diminished intervals, minor chords, and harmonic minor progressions.
 * 1.2 Read, write, and perform rhythmic and melodic notation in duple, triple, compound, and mixed meters.
 * 1.3 Transcribe aural examples into rhythmic and melodic notation.
 * 1.4 Sight-read accurately and expressively (level of difficulty: 2 on a scale of 1-6).

**Listen to, Analyze, and Describe Music**

 * 1.5 Analyze and compare the use of musical elements representing various genres, styles, and cultures, with an emphasis on chords and harmonic progressions.
 * 1.6 Describe larger musical forms (e.g., symphony, tone poem).
 * 1.7 Explain how musical elements are used to create specific music events in given aural examples.

**Read and Notate Music**

 * 1.1 Read an instrumental or vocal score of up to four staves and explain how the elements of music are used.
 * 1.2 Transcribe simple songs when presented aurally into melodic and rhythmic notation (level of difficulty: 1 on a scale of 1-6).
 * 1.3 Sight-read music accurately and expressively (level of difficulty: 3 on a scale of 1-6).

Listen to, Analyze, and Describe Music

 * 1.4 Analyze and describe the use of musical elements and expressive devices (e.g., articulation, dynamic markings) in aural examples in a varied repertoire of music representing diverse genres, styles, and cultures.
 * 1.5 Identify and explain a variety of compositional devices and techniques used to provide unity, variety, tension, and release in aural examples.
 * 1.6 Analyze the use of form in a varied repertoire of music representing diverse genres, styles, and cultures.

[|Grades Nine through Twelve (Advanced)]

 * ===Read and Notate Music===
 * 1.1 Read a full instrument or vocal score and describe how the elements of music are used.
 * 1.2 Transcribe simple songs into melodic and rhythmic notation when presented aurally (level of difficulty: 2 on a scale of 1-6).
 * 1.3 Sight-read music accurately and expressively (level of difficulty: 4 on a scale of 1-6).

**Listen to, Analyze, and Describe Music**

 * 1.4 Analyze and describe significant musical events perceived and remembered in a given aural example.
 * 1.5 Analyze and describe the use of musical elements in a given work that makes it unique, interesting, and expressive.
 * 1.6 Compare and contrast the use of form, both past and present, in a varied repertoire of music from diverse genres, styles, and cultures.

=Learners & Context of Use= This game is designed for students with a background in music theory and knowledge. In terms of age, this game would be appropriate for ages 12-20, depending on the individual's music theory proficiency. In terms of grade level, this game would be geared toward advanced music students between 7th grade and College level. They should have a real love of music, and a desire to learn more about the subject. It also helps for them to have listening ability, i.e., be able to pick certain instruments out of a given ensemble. They will also need to have a working knowledge of rhythm and meter. Some students may find the questions challenging...however, the multiple choice items, along with the game mechanics make the process more bearable. This game would be used in a middle school, high school, or College music setting. It could also be used in a multi-age music camp setting, with talented musicians of all ages. Most commonly, the game would be used by a band director to help students keep their skills sharp. No accommodations are needed to play this game in a typical classroom. It is designed to be played in about 40-50 minutes per game, lasting a typical class period schedule (assuming traditional bell schedule). One consideration is the fact that the website for listening examples may be blocked by school firewalls. If this is the case, it may be wise for the facilitator to download audio clips onto a thumb drive to be played off a computer's hard drive. The game can be played more than once. It can be modified to be played by teams of 3-4, or of individual players. Prior to the game, the players would set it up, read over the rules, make sure everyone understood them, and begin play. After the game, players would either shift (take turns) or be done with that round (mostly depends on individual preference and time allotted) =Competing Products=

//What's out there that covers the same content as this game? How is your game similar to others? How is it different and better? (You can check the// [|//Board Game Geek//] //search engine and the// [|//Educational Learning Games catalog//] //for school-oriented titles.//
 * []
 * []
 * [|Rhythms (Rhythm Riot)]
 * [|Intervals (Space Place)]
 * [|Note Names (NoteWordy)]
 * [|Key Signatures (Triple Threat Tiles)]
 * [|Terms and Symbols (Legato Lake)]
 * []
 * []
 * [|music theory board game patents]
 * []
 * [|Amazon.com > Toys & Games › "board games music"]
 * [|Bach to the Drawing Board (Game)]

**Object of the Game**
The object of the game is to fill out one's measure board with note tokens. Players have the option of filling out one, two, or all three measures on their measure board to win the game. This depends on individual preference, as well as time constraint (fewer measures take less time).

Content Analysis
"By definition, a fact is a unique piece of information that must be individually held in memory to be known." (Clark, 2008, p. 107)
 * ~ Content Type ||~ Content Elements ||~ Game Elements ||
 * ===Facts===

"Within each concept class are individual examples [facts] that share the common characteristics of the class but which also vary on a number of features irrelevant to the basic concept. . . . Unlike concepts, in which all members of the group share common properties, facts are unique, one-of-a-kind types of information." (Clark, 2008, p. 106)

"Factual informaiton is commonly seen in one of three formats: concrete objects, unique data, and associations in statements. (Clark, 2008, p. 106)

"A fact is the smallest unit of information; it's the atom of information. . . . there's not much you can do with a fact except know it or don't know it." (Dodge, 09/28/2009, 00:29:03)

"Facts end up on cards, more or less, more often than not. But, facts also end up as visuals, as images or labels on the board. There's a certain amount of low level learning that takes place just by being exposed to something.

"This is the lowest level of learning . . . . (There will be no trivial pursuit games.) But, facts are an important part of many games, but they can't be the ... only thing in your game. (Dodge, 09/28/09 43:39) || **Examples of facts covered in the game:** Note value identification Elements of music identification Instrument identification || Players will have to identify notes, intervals, chords, and instruments in the cards, markers, game board, and listening examples. || "A concept is a mental representation or prototype of objects or ideas that include multiple specific examples." (Clark, 2008, p. 82)
 * ===Concepts===

"All concepts have critical features or characteristics, and irrrelevant features. The critical features are always associated with the particular concept; the irrelevant features vary from specific example to example." (Clark, 2008, p. 82)

"Concrete concepts have defined parts and boundaries that you can draw and label. . . . Abstract concepts are less tangible and cannot be directly represented using graphics." (Clark, 2008, p. 83)

"Sometimes you'll have your cards clumped into categories. So, maybe, different cards have different colors based on what category they are.

"I don't see done this often enough. You could divide the board up into regions, so that when you're in one particular part of the board, then one particular concept is being explained, reinforced, deepened.

"Or, ... maybe you have to have all ... critical attributes or concepts." (Dodge, 09/28/09, 45:04) || Grade Six Read and Notate Music Describe Music Grade Seven Read and Notate Music
 * beat. Unit of measure of rhythmic time.
 * interval. The distance in pitch between two tones.
 * triad. A three-note chord consisting of root, third, and fifth.
 * notation. Written music indicating pitch and rhythm for performance.
 * melody. An organized sequence of single notes.
 * pitch. The location of a note related to its highness or lowness.
 * meter. The grouping of beats by which a piece of music is measured.
 * rhythm. The combinations of long and short, even or uneven sounds that convey a sense of movement in time.
 * dynamics. Varying degrees of volume in the performance of music.
 * tempo. The pace at which music moves according to the speed of the underlying beat.
 * meter. The grouping of beats by which a piece of music is measured.
 * duple meter. A time signature with groups of two beats to the measure.
 * triple meter. Beats grouped into a set of three.
 * clef, bass, or treble. A symbol written at the beginning of a musical staff indicating which notes are represented by which lines and spaces.
 * sonata-allegro form. A musical form that uses the overall design of exposition, development, and recapitulation.
 * staff (staves). The horizontal lines on and between which notes are written.
 * elements of music. Melody, harmony, rhythm, and form and the expressive elements of dynamics, tempo, and timbre (tone color).
 * genre. Type or kind of musical work (e.g., opera, jazz, mariachi).
 * concerto. A composition for orchestra and soloist.
 * theme and variation. A compositional form in which a theme is clearly stated and is followed by a number of variations.
 * interval. The distance in pitch between two tones.
 * chord. Three or more tones sounded simultaneously.
 * harmony. The simultaneous sounding of two or more tones.
 * harmonic progression. A succession of individual chords or harmonies that form larger units of phrases, sections, or compositions.
 * meter. The grouping of beats by which a piece of music is measured.
 * duple meter. A time signature with groups of two beats to the measure.
 * triple meter. Beats grouped into a set of three.
 * mixed meter. A mixture of duple and triple meters.

Describe Music Grade Eight Read and Notate Music Grade Nine through Twelve . || Players must understand the concepts of beat, interval, chord, etc to recognize some of the questions, understand what notes they can put on their measure boards, and how to complete their measure boards. || "Procedures consist of a series of steps that are performed more or less the same way each time the task is done. However, many job tasks are not procedural in nature. There are no exact steps that can be specified because the situation or context in which the task takes place will different each time. I call these //principle-based// or //strategic// tasks." (Clark, 2008, p. 145)
 * canon. A musical form in which a melody is imitated exactly in one or more parts. Similar to a //round.//
 * fugue. A composition in which three or more voices enter one after the other and imitate the main melody in various ways according to a set pattern.
 * opera. A drama set to music for voices and orchestra and presented with costumes and sets.
 * oratorio. A dramatic musical composition usually set to a religious text and performed by solo voices, chorus, and orchestra without action, special costumes, or scenery.
 * augmented interval. A major or perfect interval raised by a half step.
 * diminished interval. A minor or perfect interval lowered by a half step.
 * Describe Music
 * symphony. A long orchestral work divided into three to five movements.
 * tone poem. An orchestral composition based on an extramusical idea; a tone picture (e.g., //The Pines of Rome,// by Ottorino Respighi).
 * composition. Creation of original music by organizing sound. Usually written for others to perform.
 * song forms. The organization of sections of a song, represented by letters that depict similar and contrasting sections: AB, ABA, AABA, ABC, verse/ refrain, and so forth
 * ===Principles===

"In short, the focus in procedural learning is on the **how to**, whereas the focus in principle-based learning is the **what, why, and how.**" (Clark, 2008, p. 147)

Principles are relationships between concepts. . . . If you understand how things are related, then you understand how things work. (Dodge, 09/28/2009, 33:15)

"Principles are the rules of how the world works. And so they map pretty nicely onto the rules of your game." (Dodge, 09/28/09, 46:30) || Accurate The requirements listed above under the CSBE 1.0 Artistic Perception are the principles to be taught The player will explain the function (what, why and how) of the following:
 * Examples of Principles covered in the game**
 * Key signature
 * Dynamics
 * Musicality
 * Improvisation
 * Musical Form
 * Cadence || Each player's composition on the MEASURE BOARD has to follow these guidelines:
 * Every measure has to be complete using notes and/or rests.
 * The notes in a measure have to conform to the time signature.

Questions on TASK CARDS - Player will describe the what, why, and how does it work of the principle to receive notes. || "A procedure is a series of clearly defined steps that result in achievement of a routine job task. . . . Procedures are done more or less the same way each time and can be clearly specified in a step-by-step format." (Clark, 2008, p. 60)
 * ===Procedures===

"Provide an overview of the step, and then go into the details of the steps, and then come zooming back out and see the overall again. Or, you want to make a job aid so that people don't have to know it at all but it's there in front of them where they need it ." (Dodge, 09/28/09, 34:03)

When you're going through a game, some parts are a step-by-step [procedure]. So, if the rules themselves are like a procedure, and if the rules of your game are like some procedure in the content you're trying to teach, that's a good thing. And if your overall content was some giant procedure, then board itself might look like a flowchart. (Dodge, 09/28/09, 50:22) || **Examples of procedures covered in the game:** Game rules || Questions on TASK CARDS - Player will describe and explain procedures (in the correct order) to receive notes. || "While procedues are directive in nature, //processes// are descriptive. Procedures tell employees how to go about doing a task, while processes them how something works." (Clark, 2008, p. 126)
 * ===Processes===

"Processes can be classified into three categories: "A business process consists of several stages performed by different employees or departments, resulting in achievement of an organizational goal. . . . By contrast, a technical process consists of stages that involve equipment operations. . . . Scientific processes focus on natural systems such as how a hurricane forms or how blood circulates." (Clark, 2008, p. 126)
 * Business systems //depicting organizational work flow//
 * Technical //systems depicting stages in mechanical systems//
 * Scientific //systems depicting howe natural phenomena occur//

"The difference between a procedure and a process is that a procedure is something you do or the person you're teaching does. There's agency involved; you're teaching someone what set of actions to do themselves. Processes are not things that we do, but things we need to understand. They're a sequence of events that we don't usually control but, we need to understand how they hang together and what the order of the steps is." (Dodge, 09/28/09, 35:06)

"Processes are like a sequence of events. . . . And they would be represented by paths on a board. "Rule one, ... your game elements should reinforce your content elements. They should match. "And rule two, ... your game elements should never contradict your content elements." (Dodge, 09/28/09, 50:49) || Examples of processes covered in the game will include: Describing how sound is produced || Questions on TASK CARDS - Player will describe and explain processes relevant to music || "One of the things that make a game a game is incomplete information. You don't know what your oppponent is thinking or about to do. You don't know what card you're going to flip over next. . . . The things you don't know, the things you can't predict or control, are what makes life interesting. . . . and are an important element of any game. . . . These probabilities are the things that make things unpredictable, make things surprising, and make both life and the games more interesting.
 * ===Probabilities===

"So, in analyzing the content, one of the things you'll do is to think about what are the things we can't control, or know, or predict. What are the things that are probabilistic and how will [you] reperesent that fact in designing the game using the mechanics that underly most games." (Dodge, 09/28/09, 35:27)

" ... limited to the dice that are available from .... The GameCrafter." (Dodge, 09/28/09, 52:14) || The players have to compose with the toolkit of facts, concepts, and principles listed above, but they don't know precisely which are in their toolkits. The contents of their toolkit is revealed as they draw from the card decks. Similarly, each player doesn't know what is their opponents toolkit || Each player has to try to complete their compostion through a process of trial-and-error. During each turn, they have the opportunity to add one more note or rest to their composition. But the dice determines which note or rest they get to add. || "This is [part of] what our textbook calls themes. . ..
 * ===Context===

"We're talking whole bodies of events, people, objects, and so on. All of those things provide a context, and the context could be the glue that holds your game together; I can't emphasize this strongly enough.

"It's the glue that holds things together, that operationalizes elegance and makes a game feel like somebody really thought it though and did a good job.

"Imagine that whatever you want to teach is a chapter in a book. What would that name of that chapter be? What is the common thing, the thread that holds it all together? It could be a place, an idea, an era, a time . . . . In a well written book, the chapters have a thread that binds them all together." (Dodge, 09/28/09, 38:07)

"The overall appearance of your board. ... The board itself ... showing you the entire context that you are teaching . . . ." (Dodge, 09/28/09, 53:09) || In real life, a composer has a toolkit of knowledge about music that consists of facts, concepts, principles, etc. The precise contents of a toolkit varies from one composer to another and even for one composer from time to time due to their studies, experience, time frame, etc.

The context is being able to read, analyze, write/compose, and perform music within the limits imposed by the list of facts, concepts and principles listed above. || A famous music patron has offered a prize to the first composer who successfully completes a challenge. The prize is 1-million-dollar, ten-year contract. The challenge is to complete a composition following some precise rules. || " ... point of view. . . . (Dodge, 09/28/09 40:53)
 * ===Vantage Points===

"In an ideal world, your piece could look like something from your content. . . . A better way to represent the vantage point is really more abstract. What role is taken on by the players, who are they when they are playing. . . . [Make] sure that matches the content, something in real life.

"The vantage point is most useful as a filter, because you'll be tempted to put everything into your game. But, if you decide on a vantage point that the players are playing from ... a lot of content becomes irrelevant. . . . The vantage point is one of the most critical concepts in putting together a game that hangs together." (Dodge, 09/28/09, 53:59) || Each of the players is a composer given a toolkit composed of the facts, concepts, principles, etc listed above. From this toolkit, each must construct a composition within the limitations imposed. || Each of the players is hoping to win the challenge and take the prize offered by the famous music patron ||

Game Materials
(1) game board (4) game pieces (1) six-sided die (4) measure boards (75) note tokens (60) Read and Notate (RN) cards (60) Listen, Analyze, and Describe (LAD) cards (20 Listen, 20 Name the Interval, 20 Name the Chord) (20) Listening Examples (13) IMPROV cards Measure Master Website

Time Required
Under normal playing conditions, this game should take approximately 40-50 minutes to complete. The length of the game depends on the number of players, their music knowledge, and the pace of transitions between successive turns. These estimates are based on data gathered from playtest experiments.

It is also possible to adjust the length of gameplay by deciding beforehand that the players only need to complete one or two of the measures on the MEASURE BOARD, rather than all three.

The Rules
**MEASURE MASTERS **   This game was designed to test your musical knowledge based upon the California State Standards for Music. Throughout this game, your mind will be stretched with musical terms, trivia, composition skills, and aural examples. In order to win, the player must answer questions correctly to collect NOTE TOKENS. The NOTE TOKENS will be used to complete three measures on the player’s MEASURE BOARD. Once a player is able to correctly fill in the three measures, that player is the Measure Master and wins the game!
 * __WELCOME TO MEASURE MASTERS!! __**
 * __OBJECTIVE __**

Each player will receive an instrument (game piece) and a MEASURE BOARD at the beginning of the game. Players roll the die to move their instrument from measure to measure in counter-clockwise motion around the board. When a player lands on a measure, they will be need to either answer a RN (Read and Notate) card question, a LAD (Listen, Analyze and Describe) card question or follow the directions from an IMPROV card question. If the player lands on a RN or LAD measure, another player will pick up the corresponding card and ask the question and answer choices. If it is answered correctly, the player can choose any note value from the measure they are currently on and will receive ONE corresponding NOTE TOKEN to be used on his/her MEASURE BOARD. If it is answered incorrectly, the player will not receive anything and game play continues to the next player in a counter-clockwise motion. Replace the used card to the bottom of the deck, upside-down.  Players can also land on an IMPROV CARD measure, which provides a random element that can affect the game play (moving to different location, exchanging NOTE TOKEN(S) with the pile or from another player, etc.). Replace the used card to the bottom of the deck, upside-down unless otherwise instructed on the card.
 * __GAMEPLAY OVERVIEW __**

Players can use any combination of note values from the collected NOTE TOKENS to complete their MEASURE BOARD, however it must follow the indicated time signatures! The first player to accurately complete the MEASURE BOARD wins!

__**SETUP**__
 * 1) This game is for 2, 3, or 4 players.
 * 2) Lay the playing board flat. Orientation is not important.
 * 3) Shuffle the RN, LAD, and IMPROV card decks and place them in their designated locations on the board.
 * 4) Have each player take one MEASURE BOARD and an INSTRUMENT (game piece).
 * 5) Have all of the players place their game pieces at the starting point on the board (look for the Time Signature)

__**PLAY**__
 * 1) Each player will roll the die to see who will go first. The highest roller goes first.
 * 2) Beginning with the player with the highest roll of the dice, turns and game play will go in a counter-clockwise motion.
 * 3) Each player in turn, will roll the die to determine the number of measures that their game piece will move on the staff (board).
 * 4) After moving to the appropriate measure, the player will be asked a question from either the RN or LAD card pile or follow the instructions on an IMPROV card.
 * 5) The player to the right of the current person playing will draw the appropriate card and read aloud the question and answer choices.
 * 6) The current person in play has a reasonable amount of time (determined by players) to answer the question. Aural example questions can be found at this website: []
 * 7) If the player answers correctly, they can choose any ONE note that is in measure they are currently on from the NOTE TOKEN pile. They can then use this NOTE TOKEN to complete their MEASURE BOARD.
 * 8) If the player lands on an IMPROV measure, the player will draw the IMPROV card and follow the instructions listed on the back.
 * 9) Play continues, one player at a time, until the first player to complete their MEASURE BOARD composition wins.

Motivational Issues
Some of the motivational factors embedded in this game include competition, social recognition and curiosity. Using Keller's ARCS model, the team analyzed the game for motivational points:

__**Attention:**__ The board game design is visually appealing and the content of the game is unique. The music students would realize that the game was designed specifically for them and their particular set of knowledge and skills. Also, the ability for the students to win in different ways (using different note values on the measure boards and the improv or chance cards) helps keep their attention by adding some slight variability to the game play.

__**Relevance:**__ As stated in the Attention section, the students will know immediately that this game was designed specifically to test their musical knowledge and skills. While some questions are easy, there are also advanced questions mixed in to not only add to the challenge of the game, but to also extend their knowledge beyond what they have learned in the classroom. Hopefully this will also pique their curiosity enough to find out more about music theory and how music works.

__**Confidence:**__ As the students progress through the game and understand the mechanics, the players should begin to settle in and try to figure out their own strategy on how to complete their measure board to win. The learning curve is hopefully not very steep and each turn the player gets will offer an opportunity to have success. As stated earlier, some of the questions do provide the player with a difficult challenge, however there are many questions that are designed to provide confidence to keep the game play going.

__**Satisfaction:**__ The intrinsic reward to playing Measure Master is the satisfaction in increasing one's musical knowledge. However, what is probably more substantial is the extrinsic reward of beating your opponent and winning the game. Also, if a teacher were to use this in his/her classroom, there could also be other extrinsic rewards available, such as special privileges or a certificate etc.

__**Possible motivational problems:**__
 * If the students are not properly prepared to play the game by having at least some background knowledge of music theory, this game will be too difficult to play.
 * By random chance, if a player keeps receiving very difficult questions when they go around the board, the player may get frustrated and not want to continue.
 * Once the game has been played a few times and the students are familiar with the questions, the game may become too easy. Although it would be a great thing to increase their knowledge, the game itself would no longer be a challenge.

Design Process
The design of the Measure Master game began with an idea to create a game for music students to test their musical knowledge in a fun and engaging way. Rather than creating a simple trivia type of "review" game, the students would also need to be able to apply their knowledge by doing simple rhythmic/singing performances and demonstrate their understanding by completing the measure board in order to win. The game was originally intended to include a CD with listening examples and correct responses to rhythm and singing questions. However, due to design limitations, the aural examples were scaled back and were then included on the accompanying website. Each member of the team contributed to the final design of the game.

We had two distinct play-test sessions, one with a group of Boy Scouts with minimal experience, and another with a set of nine high school band students. The Boy Scout group lacked certain technical music background, while the band students had more experience reading music. Though, later, it was found that students did not have a lot of theory background. This resulted in a more difficult process of deciphering the vocabulary-type questions.

Two things became evident right away in both sections... The questions on the cards were too difficult to answer as short-answer questions. Players continued to get stumped on each question. However, both groups seemed to understand the flow & mechanics of the game (rolling die, moving around the board, filling out measure boards). To address this issue, we changed the questions from open-response to multiple-choice format, yielding a greater chance of success for each player, as well as giving them a choice rather than being stumped by each question. We also found that the spinner was redundant, in that we now had one question on each card instead of three questions. This actually made gameplay easier, because each card just had one question.

Another design consideration was the shape of the board...our original design sketch had a curved approach to it, while the prototype was rectangular in nature. For our final design, we added colors to the spaces on the board to make a more engaging board interface. We also noticed that the number of improv spaces was low, so we increased that number from three to four.

These changes allow the players to learn more from the game, and have a more positive experience while playing it. Below are some online resources that we used to help guide and influence our design process.
 * Music Theory Fun and Games| Making a Musical Board Game (how to)